"By now, violins and cellos may be emancipated from its classical connotations, considering its use in jazz and even rock situations, but not the harp. The weird-looking instrument continues to have a symphonic status, despite the efforts in contrary by the likes of Zeena Parkins and Rhodri Davies, both responsible for giving it other vocabularies and purposes.

In that short list of transformative harpists you should add the name of Eduardo Raon, Portuguese musician living in Ljubljana. Either in the circuits of free and experimental music with Powertrio or playing in a jazz context with singer Maria JoAo and pianist Mario Laginha, Raon's contributions for a new understanding of that musical tool gained a wider projection. Now he has his first solo album, and everything we heard from him seems clearer, brighter and more accomplished than ever.

If it's your first contact with his music, prepare yourself for a surprise: the classical background is there, of course, but the applied extended techniques, the real-time electronic processing of its sounds and the adoption of improvisational methods brings the harp to other and very different pathways - the concept chosen for the recording relates the apparent impulsive behavior of insects with human irrationality and its tendency to be viral. That common characteristic, of bugs and humans, is translated to specific sonic situations. And if you question yourself about how he manages to do what you hear, there's the images revealing the close truth of every gesture and every act.

This is a real treat, not to be missed."-Shhpuma